This song below presents once again some very interesting aspect of Haitian music. Was the choice of the key a conventional or accommodating one? The IV chord is a major chord. Without evoking the “Blues convention” where a major 4 (IV) chord can be found in a minor key progression, to write this song in a major key is totally appropriate. However, what I find interesting is the fact that IV chord imposes itself despite of the presence of the 4th (the F note) and the 7th degree (the A♯) in the melodic lines in that measure, contrarily to the strong suggestion of a minor 4 (iv) chord in western music.
Moreover, some may say that the use of the major I chord is simply sentimental. But, in fact, it reinforces the fact that this song is in a major key and the minor 3rd of the melody at the beginning of the song is a just a nuance that reflects the sensibility of the Haitian collective soul in music.
But, my greatest surprise in writing this song was not the progression since I know that the “natif” concept has opened a new window in compositions, especially in the relations between melodies or themes and chords. It was the microtone of the A (3/4 note) which I have highlighted. Again, this endemic element of Haitian music is present in this song.